Fujifilm has been working diligently to build their X series camera lineup. But to build the cameras, you also need the lens selection to go with it. And the company has been churning away at creating lots of beautiful primes. With the partnership of companies like Zeiss, the Fujifilm X series lens lineup has also grown to include a couple of more premium options.

Over time, we’ve come to review nearly every single Fujifilm lens that there is unless it was considered to be too much of a kit lens. And today, we present you with our comprehensive guide to Fujifilm’s lens offerings in the X series mount.

Fujifilm 10-24mm f4 R OIS

Fujifilm’s current (at the time of publishing this post) only wide angle zoom lens is one that produces some beautiful and vibrant colors. We used it for a ton of street and architecture work. Like most other lenses that we’ve tested, we think that Fujifilm’s wide angle offering is best when the right light is in the scene.

What we really like is the solid metal construction on the outside, the OIS for landscape work without a tripod, and the overall image quality that we got from the lens. But it sure is pricey–in fact it is right up there with the company’s 56mm f1.2 offering–their fastest aperture optic for the X series system.

We recommend this lens to the architectural photographer that shoots with the X series system. It is also an excellent lens for travelling as you have the equivalent of a 15-35mm f4 lens–though with an f6.3 field of view in the full frame world.

Zeiss 12mm f2.8 Touit

When Zeiss first announced their 12mm f2.8 Touit lens, we were rather impressed with it. The company decided to offer a wider option than Fujifilm does with a fast aperture. Additionally, it came with an interesting and different construction than traditional mirrorless camera lenses offer.

What Zeiss did though was give the 12mm f2.8 some fantastic colors–especially when combined with Fujifilm’s Velvia settings. The sharpness is also quite high. If you’re a wide angle shooter, you may not care too much about bokeh but know that you can surely get it despite it being very difficult to do.

The feature of the lens that we needed to get used to (and still kind of do) is the rubber aperture and focusing ring. Zeiss stated that the company did this because their customers complained that the metal was too cold to use in cold weather. Granted, it surely is a well grippable rubber but it isn’t our favorite texture.

So who should get this lens? Anyone that wants to shoot architecture and landscapes with a small and wide prime.

Fujifilm 14mm f2.8

As one of the lenses that we had incredibly high hopes for, we have to say that Fujifilms 14mm f2.8 had so much potential but in the end didn’t satisfy all of our needs and expectations that the company has made themselves so known for: image quality and pure performance.

The 14mm f2.8 deserves all the praises in the world for build quality. It was the company’s first lens with the snap back focusing ring that allowed for manual focusing and also provided users with an effective depth of field scale. It’s purely solid sans having weather resistance.

Further, we didn’t feel like the lens focused the fastest amongst the lineup of the company’s offerings.

What we were a bit disappointed by though was the sharpness despite distortion control being fairly well done. Still though, in the end we wanted a better lens.

Fujifilm 16mm f1.4 R WR

If you’re looking for a lens that combines a small size, weather sealing, an f1.4 aperture and fantastic image quality, then look no further than with Fujifilm’s 16mm f1.4 R WR. Arguably, it’s one of my favorite lenses on this lens due to sharpness and just how well it gives its perspective on the classic 24mm lens offering. Besides great image quality though, it has weather sealing and the token manual focus ring manual focus engagement.

It’s a great lens for photojournalists that really want to get close to their subjects; but is also great for street photographers and others. Of any of the f1.4 lenses, this one is one of the fastest to focus.

Fujifilm 18mm f2

As one of the first lenses that Fujifilm released, many folks either went with the 18mm or 35mm offering. The 18mm was deemed as the company’s first pancake lens–though it would be outsized (or undersized) by the 27mm f2.8 that came later on.

The 18mm f2 wasn’t the sharpest of the three lenses–that award went to the 35mm f1.4. But it surely fit the X Pro 1 quite well. Since its release, the lens has received firmware updates to improve the focusing performance and many photographers still use it as their every day lens.

In our review, we state, “Autofocus accuracy has never been much of an issue with the Fujifilm X-System, but the speed… well that’s an entirely different matter all-together. When launched, the X-Pro 1 and its accompanying lenses could not be mistaken for having a fast autofocusing ability. However, Fuji has once again proven themselves to be a company that does not sit idly by and just develop a replacement product to address issues, forcing early adopters to have to shell out MORE money if they want a working product.”

As of recently, we only found the lens to struggle a bit in low light. But it surely has come a long way.

Fujifilm 16-55mm f2.8 LM WR

Fujifilm’s answer to the 24-70mm f2.8 equivalent lens comes with weather sealing built in and is quite the workhorse. We’ve been holding onto our version for a while and break it out when we need lots of versatility that a prime lens just can’t offer–and that’s the same reason why you’ll love this lens.

It’s great for portraits, has good (but not amazing) color, excellent sharpness, fantastic bokeh in the right situations, and is weather sealed. What more could you want from a 24-70mm equivalent?

To be fair, an internal zooming design would have been ideal, but this isn’t too bad still when it comes to the size department though it can initially be unwieldy in the hands until you get used to it.. We used it on a professional shoot, for headshots, portraits, street photography, real estate work, and so much more.

Fujifilm 18-55mm f2.8-4 OIS

Fujifilm’s take on a kit lens is a bit higher end than other companies may think. Instead of giving a standard f3.5-5.6 lens, Fujifilms 18-55mm offering has an f2.8-4 aperture range in addition to OIS.

Despite the albeit awkward layout of the lens with switches and rings (especially with the unmarked aperture ring), the lens is still one of the best zooms that you can get your hands on in the mirrorless world–period.

Autofocus performance of this lens is pretty good in standard lighting situations but begins to degrade once the lights become a bit more dim.

What you’ll really be smitten with though is the sharpness and bokeh that this lens has. While we’re very tough on zooms because of the problems that can occur with them, this is one that you should surely consider if you absolutely must have a zoom in your kit.

Fujifilm 18-135mm f3.5-5.6 R LM OIS WR

If you’re a Fujifilm X series camera user and you’re looking for an all-in-one super zoom lens with weather sealing that can keep up with you while you travel, then the 18-135mm f3.5-5.6 R LM OIS WR may be what you’re looking for. This is the lens that convinced a former staffer to switch over to the system.

What’s really awesome about this lens is the fact that it’s weather sealed and has optical stabilization throughout the entire range. This makes it great for many hobbyists and even for working photographers.

But as with every superzoom lens, it surely had its issues. In our testing, we found overall great image quality but there were indeed some chromatic aberration issues. Luckily, Adobe Lightroom can fix with those ease.

Fujifilm 23mm f1.4

When you think of a 35mm field of view, you think often about how it shows off exactly what the human eye sees and how the world’s photographers has documented much of history on these lenses. Though the 23mm isn’t a true 35mm, it still gives off the field of view on the X series system.

The 23mm f1.4 had a ton going for it: a great build quality, the equivalent field of view of a true 35mm lens, and a not too bad price point for what the lens really is. But for the price point, we expected better performance when shooting wide open. However, that isn’t to say that the lens is soft. Indeed, it surely isn’t–but perhaps our hopes were a bit too high with this lens.

Users who want this lens for the bokeh should know that it walks the line between creamy and hazy. Most folks will overall have no reason to complain about the results, but we still think that Fujifilm could have done an even better job with this lens given what they’ve been able to produce. Still though, the overall performance awarded the lens an Editor’s Choice award.

Fujifilm 23mm f2 R WR

The first thing that I’m sure a lot of you folks are wondering about is whether or not this lens is any better than the 23mm f1.4 R. In some ways yes, in some ways no. It’s weather sealed, faster to focus, and more compact for sure. But when it comes to pure image quality, the 23mm f1.4 R still holds its place as one of my favorite lenses when coupled with the company’s newer sensor cameras.

Regardless, the Fujifilm 23mm f2 R WR will find itself at home with many street photographers. It’s found a nice home with our Curation Editor Anthony Thurston, who uses it often to photograph his boudoir clients.

Like the other 23mm, this lens offers a 35mm field of view approximately–which is how most people see. It’s different from the lens on the X100 series too mostly in that it’s weather sealed and larger. Either way, we’re sure most people will enjoy it.

Fujifilm 27mm f2.8

As Fujifilm’s first real true pancake lens, the 27mm f2.8 surprised us quite a bit. Sure, it’s a bit pricy for what it is–but it was such a joy to use and delivered image quality results that damned near shocked us.

What you should know first and foremost is that this is one of the lightest lenses that we’ve ever reviewed and touted on a camera proudly during a review period. It focuses fairly fast and also delivers some pretty good image quality for an f2.8 pancake lens.–despite the fact that we wish that the color output were better. In that case, JPEG shooters can take full advantage of the company’s black and white color renderings.

Granted, it doesn’t have the best build quality. While the build is good for what the lens is we feel that the focusing ring is a bit too much on the skinny side–and it could use a healthy dose of good ol’ American pancakes in the morning and for supper.

We recommend this lens for the street photographer that wants to keep their package down to the smallest they possibly can. But keep in mind that you’ll be shooting at a max aperture of f2.8.

Zeiss 32mm f1.8

When Zeiss released their first two Touit lenses, one of the offerings was the 32mm f1.8. This lens was targeted at the folks that love the near 50mm field of view. Of course being a Zeiss lens though, it has some stark differences. When it came to comparing this lens against Fujifilm’s 35mm f1.4, we found that this lens had better color rendition and slightly better sharpness. However, Fujifilm’s 35mm f1.4 had undergone loads and loads of firmware updates and outpaced the Zeiss offering in the focusing category.

When it comes to build quality, Fujifilm also wins with a full solid metal build quality. Zeiss has rubber rings for focusing and aperture control, and we’re not so privy on those.

Additionally, Fujifilm’s 35mm f1.4 is a bit faster in the aperture range and costs less. Getting the Zeiss option will be for those that only want to absolute best in image quality–but with obvious tradeoffs.

Fujifilm 35mm f1.4

Many still consider this lens to be the one lens that all others should be measured against. As one of the company’s first offerings, it is still surely amongst the most popular lenses for the system. It offers a near 50mm field of view and manages to balance out image quality, speed and size overall with build quality. Granted, it never used to be that way. Fujifilm has done lots and lots of work to the lens to improve its autofocus speed via firmware updates.

We’ve used this lens for street photography, concerts, product photography and damned near everything. And it is a lens that we love whole heartedly not only for the image quality, but also the focusing speed.

Indeed, we think that it’s the best overall purchase that you can get for the system. The lens is sharp wide open, has beautiful bokeh, focuses quickly, is build like a tank, and is a quintessential small prime that the mirrorless camera world was designed to accommodate.

Fujifilm 35mm f2 R WR

This lens has confused many people. It isn’t an update to the 35mm f1.4, instead it’s another solution. The Fujifilm 35mm f2 R WR is weather sealed, has nine aperture blades, is smaller and more affordable than its older cousin. Additionally, it’s one of the fastest Fujifilm lenses that the site has tested.

If you’re a street photographer or work in rough environmental conditions, then this lens is the one that will really make you happy if you fancy the 50mm field of view due to the 1.5x crop factor.

Comparatively speaking, it’s about on par with the 35mm f1.4, and no matter which lens you choose, you won’t have a major reason to complain either way.

Fujifilm 50mm f2 R WR

The Fujifilm 50mm f2 R WR is a pretty awesome lens in many regards. I didn’t honestly think that I was going to like it, but wow–was I wrong. The Fujifilm 50mm f2 R WR is sharp, has beautiful bokeh, nice colors when used with the according color profiles, and is generally fast to focus with newer cameras. With older cameras, it isn’t so terrible depending on the lighting situation.

What really shocked me is how weather sealed the lens is. We took it out during a very heavy rainstorm and the camera and lens combination together survived quite a downpour not even half a mile away from the Atlantic Ocean’s coast.

I strongly recommend this lens for the street photographer who wants to give their subjects a bit more distance; and there are a lot of you out there. But I really believe that it’s great for portraiture. It isn’t the company’s best portrait lens in my opinion, but you’ll surely find some great reasons to like it.

This is the third lens entry into Fujifilm’s f2 weather sealed prime lens options.

Zeiss 50mm f2.8 Touit Macro

If you’re looking for a true macro lens for the Fujifilm X series system, then you’ll be in for a treat when you get your hands on the 50mm f2.8 Touit. First off, you should know that it is a true macro lens–offering a 1:1 ratio that many other companies simply just don’t have.

While we wish that this lens were designed as an f2 lens, it would have been much larger than it already is. To add further salt to the wound, the lens hood just makes it larger. But it isn’t at all a terrible lens. In focuses fairly quickly and has some of the best color rendering from an X series lens that we’ve seen. We love the way it works with skin tones especially!

As with most macro lenses though, we recommend that you not wait around for the autofocus to do its thing. Instead, switch to manual focusing and get the right spot focused on the first time around.

As a portrait lens, it lends itself well to the cause as the results are sharp wide open and the focal length renders a 75mm field of view–one used by many photographers though not our personal favorite.

Fujifilm 50-140mm f2.8 R LM OIS WR

Since Fujifilm cameras use APS-C sensors, it was only a matter of time until a lens like this came out. The Fujifilm 50-140mm f2.8 is the company’s closest thing that they can offer to a 70-200mm lens that many pro photographers love. Indeed, we loved it for photojournalistic applications.

This lens features optical stabilization, weather sealing and most importantly a constant F2.8 aperture throughout its zoom range. Beyond that, you should be well aware that it focuses quite quickly even on older cameras like the X Pro 1.

Given that this is a Fujifilm lens, you’ll also be very happy with the bokeh, sharpness and many other features of this lens. It’s really all you’ll need if you’re a telephoto lens shooter.

Samyang 50mm f1.2

If you’re looking for a sharp, affordable portrait lens for the Fujifilm X series system that can output beautiful images, this is the single lens that you need to look at. Sure, it’s manual focus, but I highly doubt anyone cares when it creates portraits this good looking.

In our tests, it’s more or less on par with Fujifilm 56mm f1.2 offering. Sure, you’re getting a wider field of field here but with this lens you don’t really seem to notice it due to just how incredible the image quality is. Now is it the only portrait lens you need? No, I don’t really think so. But it’s surely one of the best ones available for the Fujifilm system.

Fujifilm 55-200mm f3.5-4.8 OIS

While we’re very picky about our zoom lenses, we liked the longest zoom that the company offers as of the publishing of this post. What we really liked is the sharpness, bokeh, and the faster apertures than competing offerings. In fact, that feature alone almost makes this lens a premium piece of kit.

Granted, despite the large zoom range and the faster apertures, it is a larger lens than we’d like it to be on an X series camera body. But if you really need a telephoto zoom then this is the one for you; quite literally.

The autofocus speed of this lens is alright; but in low light situations we switched to manual focusing–which is something not everyone wants to do. Instead, we recommend reaching for one of Fujifilm’s excellent prime lenses. Trust us, you won’t regret it.

Fujifilm 56mm f1.2

The one lens that made everyone’s jaws drop is also hands down the sharpest lens that we’ve tested for mirrorless cameras.

When Fujifilm first announced their 56mm f1.2, everyone was shocked by all the glorious bokeh that it would be able to produce. Granted, at f1.2, it renders an equivalent depth of field wide open of f1.8 on a full frame camera. That is still quite good for most people.

Then you consider the sharpness: when we added a flash to our scenes when shooting wide open, we saw details that we didn’t think were possible with the X trans sensor. That is when we were positively in love with this lens.

This lens also has the best bokeh in the Fujifilm X series system–quite understandably. And with an equivalent focal length of around 84mm, we have to recommend it to the most serious of portrait photographers not only for its low distortion and positively stellar image quality, but all the great portraits that you’ll be able to take with it.

Fujifilm 60mm f2.4 Macro

When Fujifilm released the X series system, one of the lenses that they released was the 60mm f2.4 Macro. Granted, it isn’t quite a macro lens and it focuses slowly, but it can surely deliver a hell of a portrait.

This lens is very, very sharp–and is amongst the company’s sharpest offerings. If you’re looking for a true portrait lens, then this one may be the one to spring for. But if you want to shoot macro images, then Zeiss’s 50mm f2.8 Touit may be the better option.

Admittedly, we wish that Fujifilm gave more autofocus updates to this lens.

Fujifilm 90mm f2 R LM WR

This lens has to be the company’s quintessential portrait lens. It renders a 135mm field of view with an f3.5 depth of field equivalent to a full frame camera when shooting wide open. In fact, you’ll probably never want to stop it down. Indeed though, the lens becomes very sharp when stopped down and retains great colors no matter what profile your Fujifilm camera is using.

Besides this, it is also weather sealed just in case you happen to want to go out and shoot portraits in the rain (trust us, it’s funner than it seems.)

Best of all: it focuses quickly. If you were ever afraid that a longer focal length would be a pain to focus with, this lens generally doesn’t have that problem. Use face detection for the best results though.

Fujifilm 100-400mm f4.5-5.6 R LM OIS WR

Who would’ve thought that Fujifilm would create a lens that is capable of being both super large and a super telephoto zoom. Well, I didn’t for one. The company seems to do so well with small primes instead.

But this lens: It’s fantastic. It’s weather sealed, has image stabilization, is very sharp, can focus quickly with Fujifilm’s higher end camera bodies, not as heavy as you’d think, and is overall just a solid lens. It’s best used on a tripod or monopod and the sports and bird photographers out there are going to be the ones that will want a lens like this.

You can surely try to use it for portraits, but the focal lengths are overall way too long. It’s really a sports optic more than anything–and when combined with Fujifilm’s newest autofocus algorithms, it isn’t that bad either.